Gillis: Symphony 4 & Piano Concerto 2

 

There is much more innate 'Don Gillis' in his Symphony no. 4 'The Pioneers' than there was to be found in his three earlier symphonies. Gillis still carries over a certain lyrical quality which ran through those earlier symphonic efforts, but here is it interrupted with flourishes of brass and orchestra, ones which sound true to the later mature composer.

The first movement is also much more varied across its runtime, an important element as it is the longest in the three-movement work. A sort-of Cowboy Ballad offsets the more outgoing portions of the opening, really laying the music into its 'The Pioneer' subtitle. The solo oboe/English Horn seems to portray the Great Plains best of all, another Gillis calling card.

Frustratingly, the second movement almost picks up where the first left off, perhaps a bit more emotionally melancholic and harmonically searching in its continuation, but certainly furthering the open plains atmosphere of this first movement. A repeated note chant in the winds and strings pins a spiritual/religious note on the movement, another favorite element from the composer.

Akin to the first movement however, a contrasting middle section interrupts with a trenchant march with bugle calls, brass and wind flourishes, and little more rhythmic drive, especially among the pizzicato and walking bass. This contrast is unexpected, yet much appreciated considering the similarity of the start.

The final movement is almost entirely hustle and bustle, reminding this listener of his more famous Symphony 5 1/2 and Symphony X. Again, there is a rhythmic and harmonic quality which is rather jazzy here, while the chipper wind theme speaks of The Old West opposite a passel of percussion. Gillis also inserts tiny cells of ideas spontaneously, only to move from one musical thing to another in somewhat short measure, another feature of the composer.

Suffice to say, I was much more taken with this Fourth Symphony than I was the previous three. Not that familiarity is necessary, but moreso that Gillis is finding his way musically, creating a whole symphony which makes sense.

Having heard the First Piano Concerto from Don Gillis on a 2000s Albany recording, I expected much the same in his Piano Concerto no. 2. Alas, my forecast was wrong, with Gillis building the three-movement concerto from slow to medium to fast, rather than typical fast - slow - fast structure.

The first movement is nearly hymn-like in its opening statements, first uttered by orchestra and later from the solo piano. Gillis uses this idea to frame the movement, moving farther afield musically as the movement develops. There is a cinematic quality to this movement as it goes on, especially once the piano enters, reminding me of something coming from Dave Grusin or Jerry Goldsmith in piano mode.

Best of all, the sort of understated epic quality of the first movement does not try to attempt to evoke the Great Plains or Old West, as is typical of the composer, but instead creates a stirring foundation of simple Americana perseverance, an element which I lap up every time I hear this opening movement. Excellent!

The second movement comes in a sprightly triple meter. Gillis indicates a waltz-like tempo at the ope, and once an ambiguous orchestral introduction comes and goes, it is the piano which introduces that traditional dance, albeit in simple, jazzy utterances. Indeed, halfway through the movement, I hear growing echoes of Gershwin with the odd inclusion of gong in the background.

If anything reminds me of Gillis' earlier Piano Concerto no. 1, it is the third and last movement. Similarly to the finale of Symphony no. 4 above, I believe it is the manic hustle and bustle, the snippets of spontaneous outbursts, plus the array of percussion and off-kilter rhythms which brings to mind the musical definition of Gillis in this Second Piano Concerto. 

The piano solo uses many of the harmonic spacing found in the earlier concerto, the element which brings the two pieces closest together. This latter concerto might have more of a circus atmosphere than anything of the Old West, but Gillis' musical wit is solidly at the forefront of this final movement. A Latin element pervades the center of the movement, offering contrast to the hijinx surrounding the central portion.

As to Piano Concerto no. 2 as a whole, I like the serious nature with which the work opens. As each successive movement lengthens and lightens upon the preceding one, I think the music overstays its welcome some, an element his Fourth Symphony generally avoids.

British Conductor of the Sinfonia Varsovia, Ian Hobson, doubles as pianist, and a fine one he is. He certainly has the Polish orchestra in high spirits, but gets to the meat of these works without becoming overly cloying. Albany's sonics are good here too!

 

 

Works
Symphony 4 'The Pioneers' (27.46)
Piano Concerto 2 (36.59)

Soloist
Ian Hobson, piano

Performers
Sinfonia Varsovia
Ian Hobson, conductor

Label: Albany
Year: 2004
Total Timing: 64.58

 

While I might be critical concerning the structure and length of the Second Piano Concerto, this program improves upon the earlier symphonies greatly.

Gillis marries the spirituality of Americana with the composer's brand of musical levity much better here. As a matter of fact, the first movement of the concerto very well might be my favorite musical portion from the composer thus far.

Find more Gillis recordings HERE!